“Men and women who dedicate their lives to the realization of their gifts tend the office of that communion by which we are joined to one another, to our times, to our generation, and to the [human] race.”​––Lewis Hyde (The Gift)

I am ending the year 2017 the same way I started it: by recommitting myself to life-affirming values and productive best-practices. The hope is such commitment will help me and others continue to steer our way past the debris of political chaos and social nihilism which characterized too much of 2017 and thereby make 2018 a time of much greater unity and productivity.

In 2017 this translated into doing anything and everything necessary to complete a nonfiction book project on which I had been working for nearly a decade. It also meant increasing efforts to encourage the use of compassion as a primary tool for nonviolent conflict resolution.​Being able to say I met with significant measures of success on both fronts is a good feeling. These individual accomplishments, however, become much less satisfactory when considering how little an impact the call for compassion had on those who throughout the year 2017 convinced themselves that mass murder, as uselessly insane as it is, was a viable approach to achieving some kind of victory. Or some form of favor with divine authority.

Historic Tipping Point

While striving to reach certain goals (about which more will be said a little later) that component of history known as current events frequently interrupted my plans with its own agenda. Like authors, journalists, and artists all over the world watching the clashes between political uprisings and humanitarian urgencies, I responded in the best ways I could. ​Some, like the massacre of 305 people at the al Rawda Mosque in Egypt on November 24 and the killing of 58 people (along with the loss of millionaire gunman Stephen Craig Paddock’s life) on the Las Vegas Strip in Nevada (USA) on October 1 (just to give two examples) left me speechless for days; I was astounded at our collective inability to evolve beyond an apparent addiction to the cruelest kinds of pandemonium.

In addition: extreme alt right politics (often equated with white supremacy), scary fluctuations in the climate, and the ongoing disclosure of unacceptable sexual aggressiveness within business environments have created what many consider a historic tipping point for humanity. The question is whether we’re going to tip forward toward healing progression or tumble screaming backwards into even more aggravating mayhem. A certain president’s—that would be U.S. POTUS Donald Trump’s––decision to re-tweet inflammatory anti-Muslim videos and repeatedly bate unstable dictators has not been particularly comforting.​Various transgressions stirring furious indignation are not new. Does this mean they must remain unceasing? The level of expanded public outrage prompting corrective responses to perceived, and often confirmed, injustices represents a powerful shift in humankind’s shared awareness of its potential plight. And that in itself is reason to keep hope alive and kicking.

A Bridge of Silver Wings Reconsidered

Of all the issues worth pausing my writing and art projects long enough to join fellow citizens in public protests and advocacy, the one which actually prompted me to do so was the historic Renaming the Talmadge Bridge Symposium sponsored by the social justice advocacy group Span the Gap and the Beach Institute of Savannah, Georgia. Originally, I was slated to join participating panelists on stage at the Savannah Theatre along with the moderator, former Mayor Otis S. Johnson. Health issues, however, forced me to limit my participation to taking a front-row seat in the audience and accepting Span the Gap’s gracious acknowledgment of my contributions to the ongoing campaign.​The panelist who did go on stage included: civil rights attorney, pastor, and educator Francys Johnson, president of Georgia state NAACP; community organizer Bernetta B. Lanier; Connect Savannah’s community editor Jessica Leigh Lebos; former Chatham County commissioner John McMasters; Savannah Morning News columnist Dr. Mark Murphy; community activist Pamela Oglesby; and chairman of SCAD’s Architectural History Department Robin Williams.

​My participation in discussing the need to change the name of the bridge from that of someone who openly championed white supremacy to one less racially antagonistic was less robust than I had preferred but I took some consolation in knowing I had helped create this momentous event through the publication of various essays and articles prior to it taking place. Among them:

​The Renaming the Talmadge Bridge symposium did not end with any kind of firm commitment to immediately change the name of the causeway. The event did help raise public awareness of what’s at stake if it remains unchanged. It also inspired me to begin work on a play about the dynamics of inter-generational legacies and embracing the battle to correct social injustices.

Vigorous Applications of Compassion

The practice of compassion sat either at or near the top of the list of most crucial life-affirming values to which I re-committed myself in 2017. Working with partners at Charter for Compassion, I strove to drive home the point that a vigorous application of compassion in daily personal or professional encounters, the composition of government policies, and religious considerations could go a long way toward solving many of our most egregious dilemmas. ​The following is a list of blog essays in which I attempted to present my case for advantages of applying a philosophy of universal compassion to everything from global warming and violent conflicts (domestic as well as international) to creative maladjustment, poem-making, and the agony of historic cultural shifts.

So: why all these diverse explorations of the application of the golden rule? Because there’s a lot more wisdom in doing unto others as we would have them do unto us than most people take time to consider.

About Aberjhani

On any given day of the week, the creator of Postered Chromatic Poetics and co-author of Encyclopedia of the Harlem Renaissance, Aberjhani, may be found wearing any number of hats: historian, visual artist, poet, advocate for compassion, novelist, journalist, photographer, and editor. Having recently completed a book of creative nonfiction on his hometown of Savannah, Georgia (USA) he is currently writing a full-length play about the implications of generational legacies as symbolized by efforts to rename the Eugene Talmadge Memorial Bridge.

The rich flow of historical details, intellectual insights, and political dynamics that make up the powerful pages of Annie Cohen-Solal’s “Sartre: A Life” are both is primary assets and, for some, its principle liabilities.​In the afterword to the Sartre Centennial 1905-2005 edition of the book, the authors lets us in on her adopted goals and methodology:

​“I adopted from the beginning, a different perspective, that of interactionist micro-sociology, which tries to understand society from the subjective side of its actors, proposing to trace the process of intellectual creation and cultural production through an articulation of the individual with the intellectual milieu. Above all, I sought to shed light on the conditions of possibility of a subversive discourse which inversed power relationships by bringing historical and sociological interpretations together… Within this framework, I decided on the following methodological principles: I would adopt a triple approach—phenomenological, generative, and holistic…”(Cohen-Solal, p. 531)

It is a brilliant strategy superbly executed. The outstanding aspect of it for this reader was the propositions to “trace the process of intellectual creation and cultural production through an articulation of the individual with the intellectual milieu.” And: on the dynamics of possibility pertaining to a sociologically- and historically-informed subversive discourse.

That Solal-Cohen was only 32 when she dared tackle the job of writing a biography on Sartre and stuck with it through the completion of some 524 pages half a decade later was worthy of a literary prize in itself. Her chosen framework, however, generates some of the same intimidating challenges as certain of Sartre’s tomes themselves––say, for example, his Critique of Dialectical Reason, or the nuclear astonishment known as The Family Idiot: Gustave Flaubert, which enraptured his soul throughout his later years.​Just as the intellectually-uninitiated––as well as many who have crossed said threshold––are bound to find themselves confused and frustrated attempting to hold on to the thread of Sartre’s reasoning and non-reasoning, so are they likely to experience the same clinging to the hem of Cohen-Solal’s virtuosity as she constructs, deconstructs, analyzes, reconstructs, labels, and defines the mass of public and private components that comprised her subject’s phenomenal life. None of that should discourage readers from enjoying the mind-stimulating ride.

​Just as the intellectually-uninitiated––as well as many who have crossed said threshold––are bound to find themselves confused and frustrated attempting to hold on to the thread of Sartre’s reasoning and non-reasoning, so are they likely to experience the same clinging to the hem of Cohen-Solal’s virtuosity as she constructs, deconstructs, analyzes, reconstructs, labels, and defines the mass of public and private components that comprised her subject’s phenomenal life. None of that should discourage readers from enjoying the mind-stimulating ride.

The Litterateur Par Excellence

What makes this book so mesmerizingly extraordinary is the succession of dual portraits of Sartre as a flawed and at times wounded soul in contrast to him as the emerging-and-then-dominant French intellectual of his time. He was the litterateur par excellence who could simultaneously advance is working theses in multiple formats: as journalism, plays, lectures, philosophy, novels, and movie scripts. Yet he was also the doting son who saw to his mother’s well-being, as well as, the pied-piper mentor to aspiring writers, hopeful actresses, and political activists who would follow in his footsteps.

In addition–– whereas he may have been properly lauded as a prominent member of the French resistance and unexpected author of Being and Nothingness, he was also an unlikely kind of Casanova and a borderline drug addict. Capable of deep loyalty to either an individual (as he was for a time to fellow Nobel Laureate Albert Camus) or a cause (per the Cuban Revolution) he could quickly and brutally eject them from his public and private embrace. In short, his was a unique personality unleashed during one of the most volatile periods of modern history and how the prolific author interacted with it on multiple levels is fascinating almost beyond belief. Were it not for Cohen-Solal’s insistence on balancing the great man’s achievements with his human shortcomings one would be tempted to say he was nearly larger-than-life.​ NEXT: For the concluding part 2 Please Click Here

Author-Artist

Aberjhani is an American poet, historian, essayist, editor, journalist, social critic, and cautious artist. His many honors include the Choice Academic Title of the Year Award, the Notable Book of the Year Award, Outstanding Journalist Award, and Poet of the Year Award. He is currently completing final edits on a work of creative nonfiction about the cultural arts, race relations, immigration, and human trafficking in his hometown of Savannah, Georgia (USA).

Quotation Art on birth , rebirth, and poetry: “Born once of flesh, then again of fire, I was reborn a third time to the sound of my name humming haikus in heaven’s mouth.” Text and Self-portrait art by Aberjhani–– (from The River of Winged Dreams) copyright 2017 (Postered Poetics by Aberjhani @ Bright Skylark Literary Productions 2017)

The diamonds referenced in the above title symbolize two concrete objectives as well as the more metaphysically metaphorical interpretations some might glean from it.​The first among the two material objectives is an examination of themes, meanings, and historical events that have provided some degree of context for my life up until this point. These are the subject of my current 4--part blog series on Charter for Compassion titled: Notes on Compassion in the Summer of a Life Infused with Democratic Vistas and Creative Resistance. So far we are up to part 3 and you can check them out by clicking the images in this post.

Part 1: Notes on Compassion in the Summer of a Life Infused with Democratic Vistas and Creative Resistance: Birth and Rebirth

The second objective is a serious consideration of creative projects recently-completed and others just getting underway. Of these, the most immediate is a book of creative nonfiction on cultural arts, history, and race relations within Savannah, Georgia (USA).​This is one of those books which had to be lived before it could be written. And I admit the living was not always easy but I celebrate having come this far to share the tales told in its pages.

Part 2: Notes on Compassion in the Summer of a Life Infused with Democratic Vistas and Creative Resistance: Striving and Thriving

Additional components of the second wave of planned goals include: ongoing development of the Chromatic Poetics art project; and––a big drum-roll here—completion of at least one of the two plays currently sitting on my desk waiting for characters to take the stage.​For those who wonder why or how it is the engine room of my creative output remains so productive, the answer is more simple than complex. When looking at everything going on socially, politically, spiritually, economically, and otherwise-ly in our extraordinary world, it becomes impossible for me not to contribute in some way to the many dialogues that could make a powerful positive difference.

Part 3: Notes on Compassion in the Summer of a Life Infused with Democratic Vistas and Creative Resistance: Systemic Absurdity

Author-Artist

​Aberjhani is an American poet, historian, essayist, editor, journalist, social critic, and cautious artist. His many honors include the Choice Academic Title of the Year Award, the Notable Book of the Year Award, Outstanding Journalist Award, and Poet of the Year Award. He is currently completing final edits on a work of creative nonfiction about the cultural arts, race relations, immigration, and human trafficking in his hometown of Savannah, Georgia.

Adding the mantel of visual artist to that of wordsmith requires--aside from repeatedly earning such a title--doubling the secondary function of launching projects once they are either completed or close to completion. Some of us are naturals at it and others, like this author-artist, more likely to rely on the kindness of friends and pros.

With the ongoing soft launch of Postered Chromatic Poetics, one of the secondary devices employed has been a blog provided by the kind souls at Fine Art America and the camaraderie offered through the active clubs there. The club aspect is reminiscent of the Creative Thinkers International community once based at the Ning Network and I am often tempted to spend as much time there as here.

The Chromatic Poetics blog at FAA has been used primarily to introduce site visitors to new visual works, which is a good thing. Not so good is the present format restriction on images and links that can be included with it. So to help supplement those efforts, I am sharing below and in the next post the two most recent art entries with informational text and purchase widgets:

Dare to Love Life on National Selfie Day and Always

The Dare to Love Yourself "movement" had nothing to do with National Selfie Day when it began to slowly develop ten years ago. The well-known quote--"Dare to love yourself as if you were a rainbow with gold at both ends."-- as many are now aware, originated with the poem Angel of Healing: for the Living, the Dying, and the Praying.

The poem was first published in the book The Bridge of Silver Wings and later in The River of Winged Dreams. It has become increasingly popular over the past few years as a rallying cry to support suicide prevention and to discourage suicide bombers. The association with National Selfie Day was never intentional but obviously a natural fit which hopefully helps encourage not narcissism, but a positive healthy self-image and a deep appreciation for all life.
​
The following two art descriptions are for recently-added images that celebrate the potential healing capacity of love in all our lives:

Putting Self-Love in Chromatic Context

​Loving yourself isn't just about the photographs we post to our social media profiles to show the world we know how to have fun. It's mostly about recognizing where we fit in the larger scheme of things and how our lives contribute meaning and value to the world. Below is the image is the poem, published in The River of Winged Dreams, from which the dare-to-love-yourself quote is taken. The image itself is the second official Postered Chromatic Poetics artwork to feature it:

​Angel of Healing: for the Living, the Dying, and the Praying

1.
As you bury flesh––
honor spirit, savor hope,
cherish memory.

Consider heaven
as a world-weary stranger
asleep in your heart.

Quote words that affirm
all men and women are your
brothers and sisters.

Pull the child away
from feeding at the mule’s tail.
Give the baby food.

As Goes Love...

The title of this artwork comes from the poem "The Poet-Angels Who Came to Dinner" published in the book The River of winged Dreams. An earlier alternative version features a different color scheme:

The complete first stanza of the poem from which the quotation was taken reads as follows:
​I.Neither had been invited but both were welcomed.
They spoke through wordless intuition, cool nods of
"Peace-Be-Still," and, "As-Goes-Love-So-Goes-Life."

The design used for this one was chosen because instead of idealizing hopes centered around romantic love, it seeks to evoke the many nuances of all kinds of love: family, spiritual, friendship, joy of living, pursuit of creative goals, etc. It also acknowledges that Love is often as much a struggle to maintain as it is a pleasure to be experienced.

Author

Aberjhani is an American poet, historian, essayist, editor, journalist, social critic, and cautious artist. His many honors include the Choice Academic Title of the Year Award, the Notable Book of the Year Award, Outstanding Journalist, and Poet of the Year. He is currently completing final edits on a work of creative nonfiction about the cultural arts, race relations, immigration, and human trafficking in his hometown of Savannah, Georgia.